マリインスキー劇場の, 大ホール







アムネリス: Laura Bustamante
アイーダ: Tatiana Serjan
ラダメス: Ivan Gyngazov
ラムフィス: Yevgeny Nikitin
アモナスロ: Ariunbaatar Ganbaatar
エジプト国王: Mikhail Kolelishvili


Music by Giuseppe Verdi
Libretto by Antonio Ghislanzoni

Stage Director and Set and Lightning Designer: Alexei Stepanyuk
Musical Director: Pavel Smelkov
Costume Designer: Varvara Evchuk
Video Graphics Designer: Vadim Dulenko
Choreographer, Assistant Stage Director: Ilya Ustyantsev
Principal Chorus Master: Larisa Shveikovskaya
Musical Preparation: Alexei Tikhomirov
Musical Coach: Massimiliano Bullo
Assistant Stage Director: Anna Dronnikova
Assistant Production Designer: Ivan Tolstov
Assistant Lightning Designer: Vasiliy Shabala


第1場。 メンフィスのファラオの宮殿でエチオピア軍がエジプトに迫るとの噂が伝わっている。祭司長ラムフィスは、エジプトの守護聖人イシスに戦争に勝利できる司令官を指名するように懇願する。宮殿警備隊の長、ラダメスは、イシスに選ばれ軍隊を率いて、勝利し、そして報酬として、彼は彼の恋人であるファラオの虜アイーダの解放を要求するでしょうと願っている。 ファラオの娘、王女アムネリスはラダメスとこっそり恋をしている。非常に興奮している若い男性を見て、アムネリスは女奴隷への彼の愛について推測し始める。アイーダの恥ずかしさは彼女の疑惑を強める。

第2場。ファラオの宮殿のホール。エチオピア王アモナスロが率いるエチオピア軍は、エジプトの国境を越えたという憂慮すべき知らせを急使が届かした。 ラダメスがジプト軍を率いるという神々の意志をファラオは知らされている。彼は戦いに祝福があるようにと祈られる。

第3場。 アイーダは混乱している。彼女の心の中では、ラダメスへの愛と父親であるエチオピア王アモナスロへの恐れとの間で苦痛な闘争が起こっている。

第4場。 メンフィスにある神殿。ここではラダメスの勝利を祈願する儀式が行われる。祭司長ラムフィスは、彼に神聖な刀を手渡して、エジプトの軍隊に勝利を送るように神々に願う。

第5場。 王女アムネリスの便殿。彼女は、エチオピア軍を破ったラダメスの帰還を待っている。どんな手段でも王女アムネリスはアイーダの気持ちについての真実を知りたがっている。彼女は女奴隷にラダメスは戦死したと虚偽を述べる。アイーダは彼女の絶望を隠すことはできない。しかし、ラダメスは生きているし、そしてアイーダは彼を愛していることを王女アムネリスは分かっているので、女奴隷が彼女の愛を放棄するよう要求している。


第7場。ナイル川のほとり、イシスの神殿で王女アムネリスはラダメスと結婚する準備をしている。アイーダは永遠に別れを告げるために、彼女の恋人をここで待っている。アモナスロが現れる。ラダメスに対する娘の愛について学んだ、次のエジプト軍の動きを探ろうとするアモナスロは、司令官ラダメスからそれを聞き出すようにアイーダに命じる。彼はアイーダに、彼女は王の娘であり、服従的な女奴隷ではないと思い出させる。精神的な闘いに疲れて、アイーダは彼女の父親の要求を満たすことに同意する。 ラダメスが登場する。アイーダは愛する人に一緒にエチオピアに逃げようと勧める。二人は幸せになれるのはそこだけ。アイーダはエジプト軍の行軍経路を知ることができた。アモナスロは、アイーダとラダメスとの会話を盗み聞く。彼は勝ち誇っている。今なら勝利は保証されている。ラダメスは、裏切ってしまったことを理解し、自らの意思で祭司たちの手に身を任せる。アイーダとアモナスロは逃亡する。



About the production

By the end of the 1860s, the name Verdi gained worldwide recognition. His compositions found their way into the repertoire of the leading musical stages, and the largest theaters such as the Paris Opera and the St. Petersburg Mariinsky Theatre sought cooperation with the composer. As for Verdi himself, he was busy inventing a plot for a new drama, and a lucky chance came to his aid. The Egyptian Government asked the composer to write an opera for the Cairo Theatre whose construction was timed to the opening of the Suez Canal. And then Verdi’s friend brought him the script written by the famous Egyptologist Auguste Mariette based on an old legend.

Fascinated by the plot of Aida, the composer immediately set to work. In an effort to convey the exotic atmosphere of the distant era, he studied history, life and arts of the Ancient Egypt, and wrote the libretto together with poet Antonio Ghislanzoni. Verdi’s goal was to achieve theatrical expressiveness of each word and clarity of action saturated with sharp dramatic situations and collisions of strong characters.

Aida has such features of a large-scale opera as full-fledged crowd scenes, sophisticated ensembles, choreography pieces, choirs and processions. However, this decorative pomp does not infringe upon the development of a psychological drama based on the eternal conflict between feelings and duty. Each of the main characters will have to deal with that conflict. Their complex, sometimes contradictory images reveal new facets in the making, and even the classic love triangle presented by Verdi is far from being unequivocal. The “quiet” finale of the opera is also unusual. “Not so much sounds as tears”, as one of the composer’s contemporaries described the duet of the dying Aida and Radames.

The orchestra in Aida is rarely limited to a simple accompaniment to singing, but plays an important role in the musical drama. The researchers noted that Verdi took into account Wagner’s experience without changing the vocal nature of the opera genre. The characters in Aida have orchestral themes that accompany their appearance on the stage or give out their thoughts. Also, certain groups of timbres are assigned to the characters: woodwinds for Aida, strings for Amneris, brass wings for the Priests. The musical instruments also have a special function: they create colorful oriental flavor. For example, Rimsky-Korsakov admitted that he had used Aida “to learn dramatic orchestra”, noting the “brilliant idea” of the drums preceding the duo of Radames and Aida in Act III and the Nile cello flautandos, as well as the skillful use of the flutes. Much attention has been paid to the pipes and harps, the oldest instruments widely used in the Egyptian music since the Pharaohs’ times. One of the most spectacular scenes of Aida is the Triumphal March of Act II performed by stage pipes.

Big opera is inseparable from big performance style. The main characters’ parts require strong beautiful voices, and a rich palette of emotions requires possession of the entire arsenal of expressive means within the limits of a huge tessitura. That is why Aida, despite its popularity, is beyond the strength of many theaters, at least in the form it was originally conceived by Verdi. The premiere of the opera took place in Cairo on the Christmas Eve of 1871. The scenery and costumes were made according to the sketches of Auguste Mariette. The grand success of the performance was compared with the triumph of Radames the vanquisher. Immediately after the performance in Egypt, Aida began its triumphal march through the leading European Opera Theatres.

Nadezhda Koulygina

Premiere: 24 December 1871, Opera House, Cairo
Premiere of this production at the Mariinsky Theatre: 30 December 1998, Mariinsky Theatre, St Petersburg
Premiere at the Primorsky Stage of the Mariinsky Theatre: 11 April 2019, Vladivostok

Running time: 4 hours 10 minutes
The performance has three intervals

Age category 6+

on the playbill
16 2024, 19:00
18 2024, 17:00
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